A famille rose 'chicken' bowl
Christie's charge a premium to the buyer on the fi… Read more
A famille rose 'chicken' bowl

QIANLONG SIX-CHARACTER SEAL MARK, 19TH CENTURY

Details
A famille rose 'chicken' bowl
Qianlong six-character seal mark, 19th Century
The rounded sides enamelled with the scene of Jia Chang stamping his left foot to call the chickens in a setting of blue rocks and peonies, the boy facing the rooster while the hens are shown on the reverse below a lengthy poetic inscription in black followed by two seals
12 cm. diam.
Provenance
Lempertz Auction, 541, 29 November 1974, nr. 3407.
Special notice
Christie's charge a premium to the buyer on the final bid price of each lot sold at the following rates: 23.8% of the final bid price of each lot sold up to and including €150,000 and 14.28% of any amount in excess of €150,000. Buyers' premium is calculated on the basis of each lot individually.

Lot Essay

The poem inscribed on the cups mentions a man by the name of Zang Ping, who lived during the Muzong reign (r. AD 926-33) of the Tang dynasty. Zang was famous for the large cockerels he reared to take part in the cock fights that took place during the Qing Ming festival. However, the youth depicted on the cups may instead represent Jia Chang (b. AD 713), who was a child prodigy. At the age of thirteen he was such a talented trainer of fighting cocks that the Tang dynasty emperor Xuanzong (r. AD 713-56) employed him to train the imperial fighting cocks. The design on these cups is therefore often known as 'the precocious boy'.
This bowl is based on cups of this type which are based on earlier Chenghua doucai prototypes such as the pair of cups decorated with chickens only in the Illustrated Catalogue of Chinese Government Exhibits for International Exhibition of Chinese Art in London, vol.II, Porcelain, 1948, p. 130, no.171. More commonly this type is to be found in the Qianlong period. See for a discussion by R. Scott in For the Qing Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, Singapore, 1997, pp. 98-99, no.33.

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